Devin Naar
This Brazilian cultural matrix positions Devin Naar globally...
Curation
CURATION
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from this page:
by Augmented Matrix
The Integrated Global Creative Economy
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Name:
Devin Naar
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City/Place:
Seattle, Washington
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Country:
United States
Life & Work
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Bio:
Devin E. Naar is the Marsha and Jay Glazer Endowed Chair in Jewish Studies, Assistant Professor of History, and Chair of the Sephardic Studies Program at the University of Washington. Born and raised in New Jersey, Dr. Naar graduated summa cum laude from Washington University in St. Louis, where he wrote an award-winning senior thesis. Following a year in Greece as a Fulbright Scholar, Dr. Naar began his PhD in History at Stanford University, where he won an award for excellence in teaching. Dr. Naar’s dissertation, “Jewish Salonica and the ‘Making of the Jerusalem of the Balkans,’ 1890-1943,” received the Elizabeth Spillman Rosenfeld Prize for best written dissertation in Stanford’s Department of History in 2011.
Since joining the UW faculty in 2011, Dr. Naar has been working on a book manuscript, based on his dissertation, entitled,Jewish Salonica, which explores the multiple ways in which Jews in Salonica grappled with the end of the Ottoman Empire and their new-found position within the context of the Greek state during the early twentieth century. Drawing on a wide range of previously unstudied primary sources, such as archives and newspapers primarily written in Judeo-Spanish (Ladino), Jewish Salonica is the first book to tell the story of the tumultuous transition from empire to nation-state through the voices and perspectives of Salonican Jews themselves. The book traces key questions that Jews in Salonica asked during this period of readjustment: What willhappen to our Community? Who will serve as our leader? Who will tell our story? What will become of our dead? Ultimately, the answers Salonican Jews gave to these questions demonstrate that they hoped to bridge the chasm between empire and nation-state by reaffirming their connection to their city and by claiming the city as their own–even on the eve of the Holocaust.
Currently a fellow in the Society of Scholars at the Simpson Center for the Humanities at the University of Washington, Dr. Naar has also begun a second book project, Reimagining the Sephardic Diaspora. This book explores the dispersal of Sephardic Jews from the dissolving Ottoman Empire during the early twentieth century and the creation of new Sephardic communal hubs in Europe and the Americas—including Seattle. By focusing on the multiple directions of transnational migration, the links Sephardic Jews retained with their native communities, and the relationships they developed with other Jews and migrants from the Mediterranean, this project compels us to reconceptualize the geographic and theoretical lines between the “old world” and the “new.”
At the UW, Dr. Naar teaches courses linked to his areas of research, including modern Jewish history; Jewish culture from antiquity until today; Sephardic history and culture; the history and memory of the Holocaust; relations between Jews, Christians and Muslims in lands of the former Ottoman Empire; migrations from the Mediterranean world to the Americas in the twentieth century; and a graduate seminar on Jews, Cities and Empires. He also supervises MA and PhD students in fields such as modern Jewish history and culture, Sephardic Studies, and transnational studies.
As the chair of the new Sephardic Studies Program of the Stroum Center for Jewish Studies housed within the Jackson School of International Studies, Dr. Naar has begun a pilot project entitled, “Seattle Sephardic Treasures,” which seeks to collect, preserve and disseminate the rich Sephardic and Ladino historical, literary and cultural heritage. The first major Sephardic Studies Digital Library and Archive–an online Sephardic Museum–is in the works based on the more than 700 artifacts, books and letters collected so far from residents of the Seattle area. In addition to the digital initiative, the Sephardic Studies Program also hosts a wide range of student, scholarly and public programs that each draw hundreds of participants. The Sephardic Studies Program has already received extensive local, national and international media attention.
In recognition of the contributions he has already made to the study of Sephardic history, Dr. Naar was recently elected to the Academic Advisory Council of the Center for Jewish History in New York. He is the only assistant professor to receive this prestigious post, where he will represent the American Sephardic Federation. Dr. Naar was also elected to the Academic Council of the American Jewish Historical Society.
He conducts research in Ladino (Judeo-Spanish/Judezmo), Greek, Hebrew and French.
Contact Information
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Email:
[email protected]
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Telephone:
+1 (206) 616-6202
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Address:
University of Washington
Thomson Hall 226
Seattle, WA 98195
My Writing
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Publications:
JEWISH SALONICA: Between the Ottoman Empire and Modern Greece
Touted as the "Jerusalem of the Balkans," the Mediterranean port city of Salonica (Thessaloniki) was once home to the largest Sephardic Jewish community in the world. The collapse of the Ottoman Empire and the city's incorporation into Greece in 1912 provoked a major upheaval that compelled Salonica's Jews to reimagine their community and status as citizens of a nation-state. Jewish Salonica is the first book to tell the story of this tumultuous transition through the voices and perspectives of Salonican Jews as they forged a new place for themselves in Greek society.
Devin E. Naar traveled the globe, from New York to Salonica, Jerusalem, and Moscow, to excavate archives once confiscated by the Nazis. Written in Ladino, Greek, French, and Hebrew, these archives, combined with local newspapers, reveal how Salonica's Jews fashioned a new hybrid identity as Hellenic Jews during a period marked by rising nationalism and economic crisis as well as unprecedented Jewish cultural and political vibrancy. Salonica's Jews—Zionists, assimilationists, and socialists—reinvigorated their connection to the city and claimed it as their own until the Holocaust. Through the case of Salonica's Jews, Naar recovers the diverse experiences of a lost religious, linguistic, and national minority at the crossroads of Europe and the Middle East.
Clips (more may be added)
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
It’s like a trick of the mind’s light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet, and in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Ex Terra Brasilis
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX